It takes Mary Pat so long to speak that by the time she finally does, Donna’s finished her cigarette and the light in the room has changed.
“I embarrassed him.”
“How?”
“I dunno.”
“Your hair?”
“Your face? Your tits? Your... what?”
“My hate.” Mary Pat lights a cigarette of her own.
“I don’t understand.”
“I don’t either.” Mary Pat exhales a long stream of smoke. “But that’s what he said the day he left. He said, ‘Your hate embarrasses me.’”
Donna snorts. “Sounds full of himself.”
“He is that.”
“So fuck him. And, like, what, he don’t hate nothing? He’s a fucking saint?”
“Exactly.”
“You’re lucky to be rid of him.”
“Eh.”
“No?”
“I’m alone. I’m fucking forty-two.”
“You’ll meet a guy.”
“I liked him.”
“A better guy.”
Mary Pat shrugs.
“You
“I might meet a guy who’s better for me, maybe, but I’ll never meet a better guy.”
They sit in silence for a bit. The house feels too large and cold — even in the middle of a heat wave — for Mary Pat to imagine joy occurring here. If she felt envy for Donna coming through the door, she doubts she’ll still feel it by the time she leaves.
“Why are you wasting time with Brian?” Donna says abruptly. “Why don’t you go right to the source?”
“Marty?”
“No. The source. Jules’s boyfriend.”
“I went to Rum twice. I kinda beat the fuck out of him the second time. I don’t know if he’ll be, uh, forthcoming from now on.”
“Rum isn’t Jules’s boyfriend.”
“What?
“Mary Pat, come on, you know.”
“I don’t.”
“Shit. Shit, shit, shit. Fuck me. Shit.” Donna turns a shade of white so pale it makes her pink lips appear scarlet.
Mary Pat watches her the way you watch a pot that’s about to boil over. “Who is Jules’s boyfriend, Donna?”
They listen to that big clock tick for a bit. The room picks up new shadows. Dry leaves scrape along the sidewalk outside.
“She’s with Frank.”
“Frank who?”
“Frank-are-you-fucking-kidding-me. Who do you think?”
Mary Pat doesn’t even want to say his name. “Frank Toomey?”
“Uh, yeah.”
“Tombstone Frankie?”
“Yes.”
Frankie Toomey is married with four kids. His devotion to his family has long been considered his most redeeming quality outside of his good looks and his beautiful singing voice. (And he
The adults know he’s called Tombstone because he has more bodies on his résumé than the local chapter of the Hells Angels. When he’s not killing for the Irish, he’s loaned out to the Italians. During the McLaughlin war in the early ’60s, Frankie whacked so many guys that when Al Coogan, a barber, saw Frankie approach his shop, he ran into traffic to escape him and ended up shattering a hip. Turned out Frankie just wanted a haircut.
“My daughter?” Mary Pat whispers.
Donna looks pained. “I thought you knew. Everyone knew.”
“Who’s
“You know. Everyone.”
“But me.”
“I’m sorry.”
“Are you, though?”
“Sorry? Yeah. It’s like, when we’re in Marty’s world, Brian’s world, we only live there. Only spend time with each other. Only know what we know.”
“But what you knew is that Frankie Toomey was seeing my Jules, a girl seven years younger than
“Yeah.”
“And that was okay?”
They hold each other’s gaze and time falls away, and the girls they were once could maybe, just maybe, become the angels on the shoulders of the women they are now.
But Donna’s eyes grow distant. “I’m no one’s keeper, Mary Pat.”
“You’re the second person to say that to me this week.” Mary Pat stands. “You know, we always say we stand for things here. We might not have much, but we have the neighborhood. We got a code. We watch out for one another.” She flicks her fingers and overturns her beer can. She watches it flow across Donna Shea’s parquet table. “What a crock of shit.”
She lets herself out as Donna runs to get the dish towels.
The two guys leaning against the faded brown sedan parked out in front of her building look so much like cops they should have just stayed in uniform. The younger and taller of the two has a bandit mustache and long sideburns. His thick hair reaches the shoulders of his black pleather car coat, and a gold chain around his neck catches the streetlight and winks at her as she approaches. Mary Pat would bet he’s seen
